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Portrait of Joris de Caullery

1632

Curator Isabella Lores-Chavez and radio journalist Hana Baba on “Portrait of Joris de Caullery”
Gallery 14

Narrator: Curator Isabella Lores-Chavez:
Isabella Lores-Chavez: This portrait by Rembrandt may be my very favorite Dutch painting in the collection - and it's a really special one. Rembrandt became a very, very successful painter in Amsterdam, but this painting comes from a moment before he's become really famous.
Narrator: By the early 17th century, portraits were no longer reserved only for royalty or aristocracy. This man, Joris de Caullery, was an innkeeper.
Isabella Lores-Chavez: He's dressed in the yellow tunic of an officer because he served on his city's volunteer militia, and he's got a sword, attached to a kind of sash. He's got this piece of armor around his neck and he's holding a musket. So here is a man who is really trying to fashion himself as a respectable citizen, asking to be painted by a very young man who's at the outset of his career.
Narrator: The young artist is already incredibly accomplished at capturing a sense of character and individuality.
Isabella Lores-Chavez: Rembrandt manipulates light so subtly to give us a sense of really standing in front of a real person - Joris’s eyes, I find totally captivating. This pose with the elbow jutting out, it's a typical 17th century pose that conveys confidence, that conveys self-assurance, and it's also very cleverly a way for Rembrandt to create an illusion of three dimensions.
Joris will go on to have a naval career actually, but at this point, he's this innkeeper who really wants to show off his civic duty. And Rembrandt is really hustling - he's really at the beginning of his career, saying yes to everything and making a name for himself.

An innkeeper from The Hague, Joris de Caullery was serving as an officer in the city’s guard of armed infantrymen when he posed for Rembrandt. At the outset of his career in Amsterdam, the young artist met De Caullery while working on commissions from the Dutch chief magistrate’s court in The Hague. Rembrandt painted the militiaman holding a musket, an attribute of the civic engagement that brought De Caullery such pride. A beam of light casts his body in shadow, focusing attention on his expression. Astonishingly lifelike, this portrait demonstrates Rembrandt’s singular ability to capture the individuality of his sitter.

Curator Isabella Lores-Chavez and radio journalist Hana Baba on “Portrait of Joris de Caullery”
Gallery 14

Narrator: Curator Isabella Lores-Chavez:
Isabella Lores-Chavez: This portrait by Rembrandt may be my very favorite Dutch painting in the collection - and it's a really special one. Rembrandt became a very, very successful painter in Amsterdam, but this painting comes from a moment before he's become really famous.
Narrator: By the early 17th century, portraits were no longer reserved only for royalty or aristocracy. This man, Joris de Caullery, was an innkeeper.
Isabella Lores-Chavez: He's dressed in the yellow tunic of an officer because he served on his city's volunteer militia, and he's got a sword, attached to a kind of sash. He's got this piece of armor around his neck and he's holding a musket. So here is a man who is really trying to fashion himself as a respectable citizen, asking to be painted by a very young man who's at the outset of his career.
Narrator: The young artist is already incredibly accomplished at capturing a sense of character and individuality.
Isabella Lores-Chavez: Rembrandt manipulates light so subtly to give us a sense of really standing in front of a real person - Joris’s eyes, I find totally captivating. This pose with the elbow jutting out, it's a typical 17th century pose that conveys confidence, that conveys self-assurance, and it's also very cleverly a way for Rembrandt to create an illusion of three dimensions.
Joris will go on to have a naval career actually, but at this point, he's this innkeeper who really wants to show off his civic duty. And Rembrandt is really hustling - he's really at the beginning of his career, saying yes to everything and making a name for himself.

Artist: Rembrandt van Rijn (Dutch, 1606-1669)
Title: Portrait of Joris de Caullery
Date: 1632
Object Type: Painting
Medium: Oil on canvas mounted on wood panel
Dimensions: 40 1/2 x 33 3/16 in. (102.9 x 84.3 cm) Framed: 54 5/8 x 47 1/8 in. (138.748 x 119.698 cm)
Credit Line: Roscoe and Margaret Oakes Collection
Accession Number: 66.31

Joris de Caullery (ca. 1600–1661), The Hague, 1632-1661
By descent to his daughter, Josina de Caullery (1634–1712), The Hague, 1661-1712 [1]
By descent to her sister, Sara de Caullery (1635–1722), The Hague, 1712-1722 [2]
By descent to her uncle, George van der Poel (b. ?–1750?), Leiden, 1722-1750 [3]
Possibly, Sale, Frankfurt on Main, Karmeliter Kloster auf dem Speicher, October 29, 1770 (Lugt 1866), lot 70 [4]
George Wilhelm Bögner (d. 1778), Frankfurt on Main, before 1778
Bögner sale, Frankfurt on Main, September 28, 1778 (Lugt 2892), lot 55 [5]
Purchased by Johann Noë Gogel [6]
P. Stortenbeker , The Netherlands, by 1867 [7]
Jan Hendrik Jacob Quarles van Ufford (1855–1917), The Hague, by 1881 [8]
Private collection, Axel, Zeeland, before 1890 [9]
Sold to [A. Preyer & Co., Amsterdam], 1890 [10]
Sold to Charles Tyson Yerkes (1837–1905), Chicago, 1890-1905 [11]
Yerkes sale, New York, American Art Association, April 7, 1910 (Lugt 68496), lot 84
Purchased by [Jacques Seligmann & Co., New York] [12]
Owned in shares by [Jacques Seligmann & Co., New York], [Colnaghi, New York], [Sulley & Co., New York], and [M. Knoedler & Co., New York], February 1911 [13]
George S. Rasmussen (1872–1936), Chicago, 1924 [14]
[John Levy Galleries, New York], 1937 [15]
Sold to Edwin D. Levinson, Cedarhurst, Long Island, April 1937 [16]
By descent to his daughters, Mrs. Edna Levinson Ripin and Mrs. Evelyn A. Levinson Stein, New York, by 1950 [17]
[M. Knoedler & Co., New York], in consignment from the Levinson estate through Julius H. Weitzner, New York, 1955 [18]
Sold to Roscoe and Margaret Oakes, San Francisco, October 1955
Gift to the M. H. de Young Museum, 1966
Administrative transfer to the Fine Arts Museums of San Francisco, 1972

[1] Records of the notary Thomas van Zwieten, Gemeente Archief, The Hague, NA 306, fol. 329.
[2] Records of the notary Thomas van Swieten, Gemeente Archief, The Hague, NA 308, fol. 192v.
[3] Broos 1990, pg. 369.
[4] Getty Provenance Index, Sale Catalog D-A67, as “Rembrand,” “Ein Jüngling mit dem Gewehr in der Hand h. 48, br. 34.”
[5] Frankfurt 1778, as “Ein Ritter in spanischer Tracht mit einem Feuerrohr in der Hand. 2 Schuh 9 Zoll breit, 3 Schuh 8 Zoll hoch.”
[6] Getty Provenance Index, Sale Catalog D-A116.
[7] Amsterdam 1867, pg. 25, no. 163.
[8] The Hague 1881, pg. 35, no. 247.
[9] Netscher 1918

[10] Knoedler Stock Book 5, pgs. 190, row 22, stock no. 12023.
[11] American Art Association, The Charles T. Yerkes Collection, 1910, lot 84.
[12] American Art Association, Catalogue de luxe, 1910, lot 84.
[13] Each with ¼ share. Knoedler Stock Book 5, pg. 190, row 22, stock no. 12023
[14] Seligman 1961, pg. 120; Weller et al. 2011, no. 11. Van Gelder 1942, on the other hand, still indicates that the portrait was in the Rasmussen Collection.
[15] Letter from Edward Lee, co-fiduciary of the Estate of Edwin D. Levinson, to Jack R. McGregor at the M. H. de Young Memorial Museum, dated September 25, 1967. Curatorial file, Fine Arts Museums of San Francisco.
[16] Broos 1990, pg. 369.
[17] New York 1950, pg. 17.
[18] Broos 1990, pg. 369.
Amsterdam, Maatschappij Arti et Amicitiae, 1867–1868. “Tentoonstelling van zeldzame en belangrijke schilderijen van oude meesters,” no. 163.
The Hague, Gotische Zaal, March 20–April 30, 1881. “Tentoonstelling van schilderijen van oude meesters in de zalen van het Gothische paleis in het noordeinde te ’s Gravenhage ten behoeve der Watersnoodlijdenden,” no. 247.
Brussels, 1882–1883. “L’art ancien à l’Exposition Nationale belge,” no. 215. No catalogue.
The Hague, Gotische Zaal, July 16–October 14, 1900. “Tentoonstelling van het Nederlandsche zeewezen,” no. 978.
Paris, Salle de Jeu de Paume, April 28–July 10, 1911. “Exposition des grands et petit maîtres hollandaise du XIIe siècle organisée sous le haut patronage de sa majesté la Raine des Pays-Bas par la revue ‘L’Art et les Artiste,’” no. 127.
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The Hague, Mauritshuis, September 28, 1990–January 13, 1991, San Francisco, Fine Arts Museums of San Francisco, February 16–May 5, 1991. “Great Dutch Paintings from America,” no. 50.
Canberra, Australian National Gallery, November 14, 1992–January 31, 1993; Melbourne, National Gallery of Victoria, February 19–May 10, 1993; Auckland, Auckland City Art Gallery, June 5–August 29, 1993. “Rembrandt to Renoir: Masterpieces from the Fine Arts Museums of San Francisco,” no. 12.
The Hague, Kunsthandel Hoogsteder & Hoogsteder, December 12, 1998–March 7, 1999, “Haagse Schilders in de Gouden Eeuw,” possibly no. 16.
Amsterdam, Van Gogh Museum, February 24–June 18, 2006. “Rembrandt & Caravaggio,” no. 20.
Amsterdam, Museum Het Rembrandthuis, September 14–December 10, 2006; London, Dulwich Picture Gallery, June 7–September 3, 2007. “Uylenburgh & Sons: Art and Commerce from Rembrandt to De Lairesse, 1625-1675.”
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Tentoonstelling van zeldzame en belangrijke schilderijen van oude meesters, in de kunstzalen der Maatschappij “Arti et Amicitiae,” ten behoeve van het Weduwen- en Weezenfonds, Amsterdam: Van Munster, 1867, pg. 25, no. 163.
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Tentoonstelling van schilderijen van oude meesters in de zalen van het Gothische Paleis in het noordeinde te ’S Gravenhage ten behoeve der Watersnoodlijdenden onder de hooge bescherming van Hunne Majesteiten den Koning en de Koningin, The Hague 1881, pg. 35, no. 247.
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Catalogue from the Collection of Charles T. Yerkes, Chicago: Rand, McNally & Co., 1893, no. 48, repr.
Michel, Émile, Rembrandt: His Life, His Work, and His Time, London: William Heinemann, 1894, pgs. 117-118, repr.
Von Bode, Wilhelm, The Complete Works of Rembrandt, Vol. 2, translated by Florence Simonds, Paris: Charles Sedelmeyer, 1897, pg. 48, repr. pg. 49, no. 84.
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Catalogue of Paintings and Sculpture in the Collection of Charles T. Yerkes, Esq., New York, Boston: A. W. Elson, 1904, no. 84, repr.
Valentiner, Wilhelm Reinhold, Rembrandt: Des Meisters Gemälde, Stuttgart: Deutsche Verlags-Anstalt, 1909, 3rd ed., pg. 85, 552, repr.
American Art Association, The Charles T. Yerkes Collection of Very Valuable Paintings, Ancient Oriental Rugs, and Beautiful Old Tapestries, Auction catalogue, New York: American Art Association, April 5-8, 1910, lot 84.
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Martin, W., “De tentoonstelling van oud-Hollandsche schilderijen te Parijs,” Elsevier’s Geïllustreerd Maandschrift 42 (1911), pg. 170-171.
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Veth, J., “Oud-Hollandsche schilderijen te Parijs I,” Nieuwe Rotterdamsche Courant (May 24, 1911), pg. B1.
Hofstede de Groot, Cornelis, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten Hollandischen Maler des XVIII Jahrhunderts, nach dem Muster von John Smith’s catalogue raisonné, Vol. 6, Esslingen a. N.: Neff, 1915, pg. 270, no. 633.
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Errera, Isabella, Répertoire des Peintures Datées, Brussels: Librairie National d’Art et d’Historie, 1920, pg. 199.
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Van Gelder, H. E., “Haagsche kunstverzamelingen voor 1900,” Die Haghe Jaarboek, The Hague: N. V. Boek- en Kunstdrukkerij, 1942, pg. 14, fig. 5.
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de Young

Legion of Honor

de Young

Legion of Honor

Portrait of Joris de Caullery

Curator Isabella Lores-Chavez and radio journalist Hana Baba on “Portrait of Joris de Caullery”
Gallery 14

Curator Isabella Lores-Chavez and radio journalist Hana Baba on “Portrait of Joris de Caullery”
Gallery 14

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Lux Aeterna, 1914

The Road Near the Farm, 1871

The Holy Family with the Infant Saint John the Baptist, 1626

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New York Evening Sun, early 1890s

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de Young

Legion of Honor

de Young

Legion of Honor

Social Sharing

Curator Isabella Lores-Chavez and radio journalist Hana Baba on “Portrait of Joris de Caullery” Gallery 14

Transcript

Curator Isabella Lores-Chavez and radio journalist Hana Baba on “Portrait of Joris de Caullery” Gallery 14

Transcript

Provenance

Exhibition History

Bibliography

Lux Aeterna, 1914

The Road Near the Farm, 1871

The Holy Family with the Infant Saint John the Baptist, 1626

Ecology of violence II, 2023

New York Evening Sun, early 1890s

Of Water and the Spirit 8, 2024

3 Sisters, 2022

Self-Portrait, 2007

Telemachus and Mentor Escape from the Island of Calypso, 1729-1745

Curator Isabella Lores-Chavez and radio journalist Hana Baba on “Portrait of Joris de Caullery”
Gallery 14

Curator Isabella Lores-Chavez and radio journalist Hana Baba on “Portrait of Joris de Caullery”
Gallery 14